Monday, March 26, 2018

Kris Davis and Craig Taborn may or may not utilize all 20 of their collective fingers simultaneously throughout Octopus. But the sounds they create together often reveal the dense qualities that result when that many fingers are put into use. Whether they're taking turns playing a Cecil Taylor-esque idea in "Chatterbox" (the title is appropriate) while the other cuts loose on top of that idea, or they slowly expand on one of Taborn's three simple "Interruptions" pieces, the music feels dense yet absorbing.

The six tracks were recorded in the fall of 2016 during a tour the two pianists staged together. They hit the road due to the immediate rapport they both felt while recording Davis' Duopoly album, a series of duets with her and eight different musicians. It was the first time she and Taborn had ever played together, and they felt a collective energy as soon as they started.

Taborn and Davis blend so well that sometimes it's hard to tell where one player's part ends and the other picks up. For clarity, Davis is panned towards the left and Taborn to the right. (Her prepared piano ostinatos in "Ossining" gives her away for anyone not as able to separate their voices.) He initially sustains a series of clusters in "Interruptions One" while Davis runs freely. But as it builds, low notes are added to reinforce the chord-like suggestions, and they seem to be coming from Davis, even as her upper register playing seems like its overlapping with ideas from her partner. Another "Interruption" is blended with Carla Bley's "Sing Me Softly Of the Blues," though once again, the distinction between the two - and the line between composition and improvisation - becomes a vague division.

Davis says in her liner notes that each night's performance was different, with sections of the compositions frequently abandoned in favor of improvised sections that became more and more expansive. Going on that idea, listening to the album might be more rewarding if the track titles are disregarded and it's treated as a spontaneous set of music, created through an intensive dialogue. That way, we're not left wondering,for instance, how much of Sun Ra's "Love in Outer Space" Davis and Taborn actually draw upon. Although it would be interesting to hear and compare these recordings to some of the other ones that Ron Saint Germain recorded each night.

Wednesday, March 14, 2018

When Jon Irabagon released his album of solo sopranino saxophone performances in 2015 (Inaction is an Action), one scribe went so far as to ponder whether the challenging set of pieces represented the worst album of that year (unlike Irabagon's full-band album Behind the Sky, released at the same time, which the writer decreed as one of the year's best). Inaction was an intense listen, what with Irabagon's skilled extended techniques running wild on the pee wee horn. It seems only fitting that Irabagon's label would up the ante and release Josh Sinton's set of improvisations on solo contrabass clarinet.

Sinton plays in a series of contexts, including Ideal Bread, a group dedicated to the music of Steve Lacy, in which he plays baritone saxophone. For krasa, which translates to "beauty" in Czech or "color" in Latvia, Sinton recorded at the studio Menegroth the Thousand Caves with metal bassist Colin Marston at the control board. On a few tracks, Sinton uses pick-up microphones and runs the clarinet through a couple amplifiers. This maneuver gives it the visceral sound of a free improv guitar, which only sounds more barbed as Sinton blows overtones and squonks on it. He even produces some feedback two minutes into the opening "Sound."

Without a doubt, krasa gets brutal, ripping a layer or two of skin as it proceeds. Sinton often luxuriates in long notes, enjoying the resonance of his instrument and what the amplification does to it. He also vocalizes through it. But anyone investigating to this type of music doesn't expect sweet lines and will discover the nuances of the performance. Shorter melodic blasts appear in "(prelude to)," which acts like an undistorted balm after the 16-minute opening of "Sounds." "And" starts soft and low, moving in waves before Sinton unleashes a sound like a bowed bass.

So maybe krasa isn't meant for casual listening, but it definitely makes for fascinating listening. The album contributes a new chapter to canon of solo reed albums, in the tradition that goes from Inaction is an Action back to Roscoe Mitchell's Solo Saxophone Concerts.

Tuesday, March 13, 2018

Back when I started this blog, most of the entries began with the name of whatever I was listening to at the moment that I was writing. Back then I could fire off a set of words while music was playing in the background. These days, not so much. That's due in large part to the fact that I'm usually reviewing an album and I feel like I can't do that while listening to something else. Or even listen the album in question, because my cautious nature makes me feel like I might be missing something if I listen with half an ear....

Anyhow, I have a backlog of photos from the past few weeks of shows, so it was time to post them. First of all, back on Thursday, February 22, bassist James Ilgenfritz came back to town, along with drummer Brian Chase and woodwind multi-instrumentalist Robbie Lee. The performance was presented by Alia Musica and took place at the Mattress Factory.

The space's high ceilings are hardwood floors served as a good spot, acoustically, for the trio. Unfortunately, I got there late and missed about half of the performance. Right as I was walking in, Lee was setting down an oversized recorder-type instrument. (Later that night, Ben Opie pulled out a picture of Michael Pestel playing such an instrument during the 2008 performance at the National Aviary with Opie, Anthony Braxton and a few other musicians.)

Before the set was through, though, Lee also played some flute and sopranino sax. Chase, who has also played with local native Andrea Parkins and with groups like the Yeah Yeah Yeahs, has some great splatter effect moments on the drum kit. Ilgenfritz, playing a five-string upright bass (with a removable neck, to boot) played some great bowed drones and exciting runs all over his instrument. If only there had been a second set.

Nine days later, Jason Moran and Bandwagon played at the Kelly-Strayhorn Theater, in a show presented by Kente Arts Alliance. The group began the set in darkness, with Moran setting up the introduction of "Feed the Fire," a Geri Allen composition. Having heard the trio on several albums, it was exciting seeing them live. Nasheet Waits is the type of drummer that propels any group in which he plays. Tarus Mateen, on bass guitar not upright bass, can play rapid lines on his instrument without ever overpowering the group or sounding too busy. Then there's Moran who like his mentor the late Jaki Byard, is well-versed in numerous styles of piano and can draw on any number of them at a moment's notice. Like Byard, this isn't mere mimicry either. He went from Earl "Fatha" Hines to Cecil Taylor and back throughout their evening.

During the set, and afterwards during the talk back with Kente's Mensah Wali, Moran's reverence for Pittsburgh's jazz history continued. "Pittsburgh takes care of its legacy," he said later, offering a reminder not to take the city's musical history for granted. His set included several originals but it also featured revised versions of some classics. He played Thelonious Monk's "Thelonious" with blistering speed. "Body and Soul," a song done umpteen times over the years sounded fresh and different, and nothing like any "Body and Soul" you've ever heard.

A short time later in Lawrenceville, the smaller room in Cattivo (aka the one right above where Goth Night was loudly taking place) was the space to catch the Ethnic Heritage Ensemble. This time drummer/percussionist Kahil El'Zabar played with trumpeter Corey Wilkes and baritone saxophonist Alex Harding. Wilkes has been a fairly regular member of the group on visits here, and though Harding came with the group once last year, this was my first time seeing him in Pittsburgh. Several years ago he knocked my socks off as a soloist in David Murray's Big Band at the Detroit Jazz Festival. (When I found out who he was that night, I realized he was a member of the group Grass Roots with saxophonist Darius Jones, bassist Sean Conly and drummer Chad Taylor, who released a great album on AUM Fidelity.)

The evening combined straight ahead tunes like "Bebop," adapted to fit the stripped down sound of the trio, as well as El'Zabar standard's like "Can You Find a Place," where he plays finger piano and keeps a pulse with ankle bells, mixing spirituality with AACM-style soloing. Harding proved that deserves a lot more attention. He can utilize the low down weight of his instrument or lift into the upper register, creating light and graceful moments as needed. He did both that night. Wilkes was gets better and better each time he comes to town. (I took pictures but they got lost when transferring data to a new phone.) PS - Alex Harding is set to come back to Pittsburgh on Friday, April 19.

Mary Halvorson brought her Code Girl project to the Warhol Museum last Wednesday, March 7. The group, as stated in an earlier post, includes the guitarist's Thumbscrew bandmates Michael Formanek (bass) and Tomas Fujiwara (drums), adding Ambrose Akinmusire (trumpet) and Amirtha Kidanbi.

The inclusion of vocals, which frequently veered into torrid wails similar to Shelley Hirsch or Jeanne Lee, occasionally felt a little too unhinged, Kidambi gave a dynamic performance. During "And" she unleashed a long tone with the power of an opera singer, an image that was confirmed by her stance at an angle in front of her microphone. As the set wore, Kidambi's voice seemed to function more as a third voice between Halvorson and Akinmusire, and she easily handled the task of standing between those two.

Akinmusire's part in "And" began with a warm tone that is typically heard from a flugelhorn. But he quickly traded that warmth for some intense tonguing. Later in the set, he straddled a sweet sound with one that sounded like it was coming through a fuzz pedal. I knew he was a great player, but he really blew the lid of the place.

As far as Halvorson herself, the set has to be one of the best performances I've heard from her, up there with her Septet's performance at the 2014 Winter Jazz Fest. (I've seen her other times in Pittsburgh and New York, but these were my favorites.) Her playing was especially intense, whether it was the finger picking of "Pretty Mountain," the indie rock-style of "Storm Cloud" or the raw solos she unleashed during the set. Code Girl was a heavy listen with changes coming at the ears left and right. But seeing the quintet put it all together live (the first show of the tour, to boot), it made a lot of sense.

Monday, March 12, 2018

Sylvie Courvoisier dedicated each of the nine tracks on her latest album to nine individuals from different walks of life, including a French politician, artists, musicians and her father. As it often goes with these homages, it's not a requirement to hear the tracks as direct representations of the honoree. Although in some cases the similarity might seem a bit intentional.

"Bourgeois's Spiders," named for artist Louis Bourgeois' arachnid sculptures, features Courvoisier shifting the focus away from the keys of her piano. She plays the frame of the instrument, or the strings themselves, as Drew Gress (bass) and Kenny Wollesen (drums) stealthily vamp beneath her, which evokes spiders.

Wolleson begins the eight-minute
title track, dedicated to the late pianist Geri Allen, with a batch of
arrhythmical sounds, which serve as ambiance rather than pulse. In the
background, it sounds like a faucet drips, birds roost and what sounds like a
rusty high hat cymbal adds irregular squeaks. (Some of that is pure metaphor.) In the foreground, Courvoisier
and Gress play the rubato melody, the latter up the neck of his instrument.
Though they move together, Gress follows a micro-second behind, giving it room
to breathe.

At this point, D’Agala creates the temptation to scrutinize all the tracks,
comparing and contrasting the way the pianist does or doesn’t evoke, for
instance, Ornette Coleman in “Éclats for Ornette” (sort of) or the
one-named honoree Charlie in the knotted “Pierino Porcospino” (who knows). “Fly
Whisk” might not evoke Intakt regular Irène Schweizer (who’s recent Live! with drummer Joey
Baron should also be checked out) but with quick staccato playing by Gress and Courvoisier, her labelmate
would surely enjoy the track.

Bypass the names and D’Agala stands as a strong, varied set of
music; all nine pieces explore different ideas, each as thought-provoking as
the previous one. “Imprint Double” starts off with a low boogie riff (taught to
Courvoisier by her father) with the rhythm of Stevie Wonder’s “Higher Ground.”
But before there is a chance to dig into either that song or to turn it more sinister, the trio moves onto something open and free. That ability to turn a corner and sustain focus, which a
rhythm section that’s clearly in tune with her thoughts, makes Courvoisier’s
latest effort a consistently rewarding listen.

There's lots of timely things to be talking about now, but this one rises to the top of the list. Along with Jason Moran's show tomorrow (with a set by the Ethnic Heritage Ensemble later at a different venue*) this particular show is one people should make serious plans to see. It marks the return to Pittsburgh by guitarist Mary Halvorson with yet another project. Also, the album Code Girl was released today and, for once, Pittsburgh happens to be the first stop on their tour.

The core of the Code Girl quintet is basically the collaborative Thumbscrew trio: guitarist Halvorson, bassist Michael Formanek and drummer Tomas Fujiwara. If there was ever a familiarity to that group, it evaporates thanks to the two additional members of the band, trumpeter Ambrose Akinmusire and vocalist Amirtha Kidanbi. Halvorson composed both music and lyrics for the album. No stranger to lyrics she's previously written and sung with People (a mangled jazz-punk project with drummer Kevin Shea) and in duets with violist Jessica Pavone.

The lyrics read like fragmented beat poetry, and following along is recommended (at least at home) because Kidambi often sucks on and savors vowel sounds, often making any underlying theme even more obtuse. Sometimes her vocalizing sounds like a darker version of Robert Wyatt's style, while at other times her melodic path recalls some of the more operatic moments on Carla Bley's Escalator Over the Hill. And much like the latter album, so much is happening in the songs that any abrasive qualities are overlooked and placed to side for further investigation later.

That puts the attention on Halvorson and Akinmusire. The guitarist takes her signature clean-but-warped sound in a number of different directions. "Accurate Hit" strips the group down to just guitar and vocals. Halvorson bangs out a pattern that would sound like anthemic rock in the hands of the average joe. But her tone-bending pedal twists the standard sound at random moments, motivating Kidambi to respond in kind. By the final verse, she's wailing much like her accomplice's instrument. "Off the Record" begins in a tranquil mood, briefly shifting into a straight chord pattern than almost sounds like Count Basie's Freddie Green, finally featuring a solo where the delay pedal grabs the notes and bends them after they have left the guitar. It's a strange way in which Halvorson sounds like she's manipulating real time.

Akinmusire sounds quite at home in this melange of improvisation and arty composition. He and Formanek engage in a great duet to open "In the Second Before," with the trumpeter emitting some low smears and growls. His puckish tone is a driving force in "And" as well. There are other moments too when he and Kidambi seem to be inspiring and driving each other's work.

Usually Pittsburgh doesn't get a band like this so early into their formation. The young age of Code Girl (the band) isn't apparent by listening to the music, which is another reason to take advantage of an opportunity to see them in person. Hard to say when they might come back, especially considering how many other projects all of them have going on.

I'm what you'd call a music enthusiast. Not one of those obsessive people, but definitely fanatical about it. This blog began as a forum for whatever I am listening to throughout the day but I'm also trying to include full-blown CD reviews too.

About Me

UPDATED - 9/15/2018. Over the past couple years, most of the entries here have been focused on jazz, with fewer on indie rock or albums from my past that I've dug up. I'm not limiting myself to one style. But most of the music I receive is jazz and since there aren't a whole lot of jazz writers out there, I try to provide a forum for it. Regarding me, I've lived in Pittsburgh all my life and despise the people who live here who put it down because it says less about the town than it does about them. Until recently, I played bass and sang in a band called the Love Letters, who released a double 7" single. (Something else is sort of in the works but I'll keep you posted.) Prior to that, I played in Amoeba Knievel, the Fearnots and the Mofones. Previously I played in Bone of Contention (ever heard "Barbie Likes to Die"? People on the interweb have!), the Pundits, Paul Lynde 451 and Mystery Date. After several years of freelancing for Pittsburgh City Paper, I now write for the new Pittsburgh Current, which everyone should check out online or in print. Nationally I contribute to JazzTimes magazine.